His new exhibition in Calcaterra, “Fancy Monas”, narrows new alliances with technology and digital art, and persists in the innovative gesture he had since the 60s.
Successful wherever they look at it, Edgardo Giméneza Great Argentine pop starmove comfortably in the interdisciplinary field of art. It defines itself as “self -taught visual artist” and, it is, in the broadest sense of the term. No art is alien to you. From the new sample, “Fancy Monas” in the María Calcaterra gallery, Giménez New alliances with technology and digital art.
There are 25 cute in the gallery, some who even look sideways, Ladinas, with the ambition of not missing any offer of current art and, perhaps, at the same time, record the interest of an audience attentive to these novelties. That is, to the unlimited possibilities of the generative universe, explored with the same comprehensive aesthetic criteria that accompanies Giménez From the beginning of his career.
There are the cute, dressed in the design elements taken from previous decades, such as stars and palm trees, among others. In the 1942 impressions about paper and video screens (number that coincides with the year of his birth), the artist recovers through the algorithms system, the serial production characteristic of pop. In addition, with his overflowing energy, he planned a whole week of activities aimed at sealing the alliance of his art with the fashion of Jasmine Chebar. Calcaterra and Beyond Art Group (BAG), a company dedicated to the merger of science, art and technology, present with the production of “Fancy Monas”, A hybrid where the physical and digital are mixed, unique works generated with algorithms, but supervised by the artist’s always attentive eye. Giménez Inspirate trust. It presents unique pieces, although elaborated from the works carried out above. With the current contribution of generative technologies, the past becomes an inexhaustible display of its unmistakable style.
To the Calcaterra sample is added the collaboration with the clothing designs of Jasmine Chebar and the most recognizable reasons for Giménez. This encounter enhances the waste of talent of both, capable of creating and selecting pregnant images, which attract people’s gaze in the networks and in Jasmine Chebar stores, turned into museum rooms. Meanwhile, the performances of the models through the streets, look like open pit museums. Print on garments or turned into jewels, insects, panthers, flowers and clouds, hold the characteristic joy of Argentine pop and that of Edgardo Giménez especially.
Joy added to the humor that the artist defends by cape and sword as an essential value in life. Both crossed last year with the Monas. And from the first moment, affinity was consolidated. When Giménez visited Jasmine’s offices, he discovered in that space a sculpture of Panther, one of the reasons for his art for decades. A playful language allowed them to connect immediately. “The result is a unique collection, where each garment was treated as a work of art in itself. The proposal transcends traditional fashion and becomes a sensory experience,” they say.
The campaign, set in an industrial scenario with New York air, reflects the irony and the unreal world of Giménezwith models surrounded by sculptures and objects outside of scale that claim the pop character and humor of the collection. “The union represents a new paradigm in which clothing not only saw, but also communicates and transports art to new scenarios,” they conclude.
Owner of a brilliant trajectory that fell off, Giménez It was a key figure of the Di Tella Institute known for his siirent audacity that dazzled the Buenos Aires when in the corner of Viamonte and Florida an advertising poster appeared that portrayed him smiling next to Dalila Puzzavio and Carlos Squirruand presented them with a provocative question: “Why are they so great?” The imprint of Giménez It extends to its beautiful architectures, such as the Blue House of Romero Brest that appeared in the exposure transformations of MoMA (1979) and the recent Uruguay “The history of graphic design” of the same editorial.
The scenography is another discipline to highlight: first, those of the film are listed “The neurotics” with Norman Brisky and Susana Giménez for Héctor Olivera (1968) and “Psexoanalysis”also from Olive with Libertad Leblanc. Furniture and fashion designs, filled areas of creativity, are articulated with the domain of drawing, painting and sculpture, photography and video. The posters of Giménezlike that of “Current dance”exhibited at MoMA and those made for the San Martín Theater, gave him international fame. Your last exhibition “There will be none the same” (2023) In the Malba, it attracted more than 200,000 visitors.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
